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The Countess Back in Victorian times, people dealt with a lot of the same personal issues that we are dealing with in today's society: issues of cold and unrelenting hearts, of loving the wrong person, of not being loved or touched, and pain in the butt in-laws! But those Victorian inhabitants had to speak in very proper and flowery language, have rigid posture, and wear outfits that looked like it took all morning to get into them. Circle Theatre's The Countess is set in this Victorian era, but while the script is a little stuffy in its language, the humor, love, and painful situations are still are understood. Gregory Murphy's play centers around a love triangle, but what gives the play more weight is that it is based on real people. John Ruskin (Stan Graner) was the son of a prosperous wine merchant, born in London in 1819. After being educated at home he studied at Oxford University, where he won the Newdigate prize for poetry. Ruskin was considered to be Britain's leading writer on culture, some of his works which include "The Seven Lamps of Architecture" (1849), "Pre-Raphaelitism" (1851), "The Stones of Venice" (1853), "Architecture and Painting"(1854), "Modern Painters III" (1856), "Political Economy of Art" (1857) and "Modern Painters IV" (1860). Effie "The Countess" Ruskin (Heather Child) was born in Perth, Scotland, in a house which formally was the family residence of John Ruskin's father. Her father was not a wealthy man, but he sent Effie to young ladies' seminaries of good repute. She was considered a bright, attractive, lively girl with a strong personality. John and Effie married when she was 19 and he was 25, after a long courtship carried on mostly through correspondence. Ruskin's passion for art led him to meeting John Everett Millais (Jeffrey Schmidt), one of the founders of Pre-Raphaelite painting. This ideal was to move from a annerist to a realistic style in painting. This work received vehement criticism from many, but was championed by John Ruskin. Millais was a child prodigy in art; he entered the Royal Academy Schools at age 11, and exhibited at the Royal Academy from age 17. He became ARA as early as 1853, then RA and finally, in the year of his death, President of the Academy. In 1853, he went to Scotland and was coached by John Ruskin. This is when he met Effie and our play begins. There is quite a bit of exposition to get through before we really get to see the driving force of the play's true purpose and intentions, and at times this does become a little taxing. But once the play gets to the arc of conflict, it's a delicious ride to go on, especially the second act. In the wrong hands, the slow beginning could make the evening snore inducing, but not in Susan Sargeant's masterful hands. In her blocking, Sargeant dissects the script and creates a blueprint for the actors' traffic patterns, knowing where to give the "emotional moment" more emphasis. Her blocking fits what the emotion requires - every time. Sargeant keeps the pace flowing, getting to the dramatic moments of the scene work with organic speed. When you get there, she pauses, letting the moment unfold and crest there on the emotion and tension of the scene. The hair cutting scene and the final scene between Effie and Millais are excellent examples of Sargeant's blocking and pace technique. Sargeant also happens to be a brilliant actress as well, and I honestly feel it's because of this that the other actors do their best work for her. She doesn't allow grandstanding acting, nor does she let even the smallest roles disappear. The design elements are also perfect. Clare Floyd DeVries has the challenge of creating visual magic within the intimate space of Circle Theatre. This theater has very little wing space and no fly rails for backdrops. The theater is designed in thrust with two massive metal pipes protruding from either side. But DeVries' scenic design masterfully works these problems within her design. She (along with Jon R. Kruse) painted and designed the pipes to resemble columns. DeVries created two sets: the Ruskin drawing room and a cottage in Scotland. Both are designed beautifully with paintings and props that add color and life. It is interesting to note that the etchings surrounding the fireplace are by the real John Ruskin and are from his book "The Seven Lamps of Architecture," and that the Turner watercolor is one he actually owned. John Leach's lighting design has no dark holes and Lowell Sargeant's sound is never distracting, from the rain falling on the cottage roof to the lush music played during blackouts. Barbara C. Cox's costumes are simply ravishing. The attention to detail and color to fit the Victorian period is superb. The men's coats are cut in perfect fit and color for the era, including colorful neckwear for the artist Millais. Cox says she dressed the Ruskin in-laws in blacks to resemble vultures - great symbolism. The ladies' gowns are masterpieces of design. A personal favorite is the lavender gown that Effie wears, a creation of lace and billowing layers of lavender satin that reflect the light beautifully. Another is Lady Eastlake's dark blue velvet gown trimmed in fur. Cox has adorned Eastlake in various hats to show the seasons change, and she added military details on Eastlake's final costume to signify her riding to the rescue. Costume design at its finest. I always admire and respect actors who, come hell or high water, will take the leap of faith and challenge themselves in doing a role they normally would not play. Even if they fail in that role and performance, they certainly receive my utmost respect and admiration for going into the unknown waters and taking this risk/challenge. Stan Graner has taken that artistic challenge as the cruel, cold-hearted John Ruskin and he delivers, in my opinion, the best work that I have ever seen from him. Graner mainly has musical credits under his belt, and in the past two seasons has taken some tough criticism from the reviews for some of these productions, including from this critic. But in The Countess, Graner takes the bold risk of tackling the difficult arc of his role and succeeds at digging deep within himself and using new elements in his acting craft. Graner's Ruskin is a man who worships art, painting, and writing, but who cannot worship the woman who is his wife. In the scene work in which he unloads his hatred and contempt for his wife and marriage, Graner seethes and explodes with such commitment and dedication to his character that it is remarkable to watch unfold on the stage. The execution of Graner's performance indeed shows that this actor not only has taken the challenge, but he totally succeeds and comes out with an excellent performance. Jeffrey Schmidt gives a commanding and deeply moving performance as Millais. This actor can show what his heart is saying with his face and body posture alone. When Millais reveals his true feelings for Effie, the pain and rejection overcomes his face with such force you can feel that heart and soul break. Schmidt (like the others in the company) brings complete commitment to his role, from his posture to the actual drawing on his paper to the use of his acting tools. Schmidt delivers a powerful performance in this production. Heather Child is Effie "The Countess" who is the woman between these two men. Child's physical beauty is cut from the cloth of the classic paintings of the Victorian era. Child totally immerses herself in her character and performance. She has the title role, and that has a lot of responsibility to carry. She must connect and have solid chemistry with all those around her. Child has no problem whatsoever with this. Her chemistry with fellow cast members is perfect, but what is even more unique is how she gives each cast member a different style of chemistry. You feel the close bond of friendship she has with Lady Eastlake, the lost soul and loneliness with Ruskin, the contempt for the Ruskin in-laws, the sweetness to Crowley, and the deep, hot passion for Millais. The scenes with Schmidt and Child are some of the best of the evening. The first act, in which you see both characters finally revealing how they feel for each other, is full of passion, pain, and fire. Most of all this scene is highly erotic, which could easily have become too staged, false or uninteresting. But the two actors boldly show their pain and agreement of "love not to be" in a way that is just heart wrenching to watch. They are a magnetic pair of actors. Kristina Baker was in one of my personal favorite productions last season at Circle, The Memory of Water. She returns to Circle to deliver a hysterical performance as Lady Eastlake. It is obvious that Baker savors each comic morsel in her character by her perfect comic timing and hilarious facial expressions. But she also shows loyalty and compassion to Effie in her dramatic moments of act two. Baker indeed shows her range and vast talent as an actress by being able to be deliver with success both the dramatic and comic characteristics of her role. Beverly May is another success in this talented cast, as Margaret Cox Ruskin. I first saw Ms. May in a production of John Guare's House of Blue Leaves at the Dallas Theater Center, and she stole the show. For The Countess she again is a scene stealer. May has the overtones of Dame Judi Dench and Dame Maggie Smith in her performance as the snotty, holier than thou, busybody mother-in-law. Just watch May's facial expressions on the green mini couch as the others speak their minds around her - it is priceless! She stays completely focused with her character and the role's main goal within the piece, and that shows her classic acting chops. May is very proper and her English accent is the best of the cast. Her stage presence has that sort of force that keeps you drawn to her. As May's husband, John Ruskin Sr., Steve Powell is a perfect counterpart to May. Powell also hands the audience a wonderful performance as a man of wealth and culture who is devoid of any hint of a heart. His main concern is the family reputation, and Powell hits the mark with both his facial expressions and delivery of his character. His comic delivery and timing hit the mark each time. Frederick Crowley, played by Christian Zuber, is the butler of the Ruskin home. Zuber has very little dialogue, but he has his moments in the spotlight during act two. He has great fun with a certain sofa pillow which receives loud laughs from the audience. But Zuber also has a touching and deeply felt scene with Child in act two, as both actors share a charming moment. Thus, instead of a minor role thrown away, Zuber and the direction of Susan Sargeant create a role that is as important as the principals. There are a few minor problems with the production. The first scene change is a tad long and hurts the momentum and pace of the piece, but that can be resolved after the company gets more performances under their belts. The other problem is that the script tends to be a little long in the tooth within the first act. The piece takes a while to get into its arc, purpose, and inner conflict; it could use a little snip here and there. But the cast and direction does not allow the script to hurt them; they face the challenge and succeed. Each of the half dozen or so productions I've seen at Circle Theatre have achieved total success. You can add The Countess as another winner in Circle Theatre's crown of glittery achievements in presenting some of the best theater in the metroplex for audiences to enjoy. The Countess runs through April 13, 2002. Thursdays and Fridays at 7:30 p.m. and Saturdays at 4:00 p.m. and 8:30 p.m. Tickets are $15-25. Rated PG. Circle Theatre is located at 230 West Fourth Street in Sundance Square's Entertainment District. Call 817-877-3040 for tickets and info. The Countess by Gregory Murphy CAST |
